Page One [Remaster]

Performer: Joe Henderson
Artist: Kenny Dorham; McCoy Tyner; Pete La Roca
Engineer: Rudy VanGelder...
Distributor: EMI Music Distribution

Notes: The Rudy Van Gelder Edition of PAGE ONE includes an essay by Bob Blumenthal. Personnel: Joe Henderson (tenor saxophone); Kenny Dorham (trumpet); McCoy Tyner (piano); Butch Warren (bass); Pete La Roca (drums). Producer: Alfred Lion. Reissue producer: Michael Cuscuna. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 3, 1963. Originally released on Blue Note (84140). Includes liner notes by Kenny Dorham and Bob Blumenthal. Digitally remastered using 24-bit technology by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. The title PAGE ONE is fitting for this disc as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren, and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy-listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson's trademark throughout his legendary career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters.

A remarkable tenor player and improviser for the last three decades, Joe Henderson's career began in the '60s on Blue Note. He played a prominent role in seminal records by the diverse likes of Horace Silver, Herbie Hancock, Eric Dolphy, Andrew Hill, and Larry Young, reflecting a talent that encompassed not only bebop tradition but avant garde and Latin influences as well. The breadth of his tone and his constant invention were finally recognized on a broad scale with the Verve label's support in the '90s.

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